Search

By drawing on ethnographic and historical accounts of migrant smuggling and forgery from the smugglers’ perspectives, this essay shifts the focus from a state-centric understanding of smuggling as a criminal activity conducted by ‘greedy’ individuals and ‘mafia rings’, to a specific form of practice that operates through a series of concrete material techniques. It argues that smuggling recognises and reworks the material and technological features of borders which are vulnerable to reappropriation. These vulnerabilities inherent to the materialisation of abstract notions such as borders are understood and discussed as ‘reproducibility’, ‘repetition’, and ‘imitation’. Smuggling not only reconfigures the apparatus of borders to provide support for those who are denied access to mobility, but also can teach us something about a specific mode of critique that I call a material mode of critique. The material mode of critiquing borders goes beyond a discursive mode which mostly locates politicians, academics, and activists as the critics of border politics. This mode can open up new possibilities of thinking about and against borders.

This paper addresses some of the challenges of video forgery detection in multimedia forensics. It presents a solution that enhances video verification by utilizing the non-alterable features of blockchain technology and video hashing algorithms. The proposed approach is applicable in different application areas and can be used to increase video credibility, identify manipulations, and improve the storage process of tracking changes to video data. The paper describes our experiments and results of the proposed solution for video integrity preservation and verification, providing an alternative way to the quality assurance and security of video content in different industries.

The technological apparatus of the border with all materialisations involved produces and maintains a specific regime of visualisation: to know the unknown. The border thus operates through a selective visualisation of what is to be seen and unseen. This power over visualisations produces a fictional yet real and violent killing machine. It is materialized yet imagined and desired through specific political logics and imaginaries. It exists as real in a world produced and imagined by fictions about the danger of the racially other who no longer waits to be given the right to mobility but move to claim it. This visual essay centres around evidences from a court case on human smuggling in Sweden. It further weaves them together with the ethnographic accounts given by smugglers as well as a set of commercial and promotional visual materials from the transnational border security companies, international organizations as well as national security services. A simple stamp on a passport page, a thread used to bind pages of a passport; the words exchanged between a border guard and a border crosser, a particular choice of word; a specific facial gesture or a suspicious body posture all make visible or invisible the border crosser. In such framing, smuggling learns from the border in order to disrupt its visualisation regime while keeping itself invisible from the sight. Smuggling works with fictional materialities of the border to open up the border’s selective regime of visualisation. What do we learn from smuggling’s visualization techniques and tactics to understand the violence of borders today?

The computer age has brought with it the falsification of documents, in this case in the Electronic Document its typification with respect to the falsification of the Criminal Code, as well as the elements of the type., La era informática ha traído consigo la falsedad de documentos, en este caso en el Documento Electrónico su tipificación con respecto a la falsificación del Código Penal, así como los elementos del tipo.

The aim of this article is to approach false notarial documents from two perspectives: both in what concerns the notaries who write them and the parties involved in the deed. We will begin with a theoretical framework about the legislation enacted by several Portuguese monarchs and will focus on a specific case of a document drawn up that refers to an invalid legal transaction, although in a true deed. From this example we will follow the activity of the intervening parties in order to demonstrate that they had sufficient legal knowledge about document forgery and to which extent they colluded with the falsified acts., El objetivo de este artículo es abordar los documentos notariales falsos desde dos perspectivas: tanto en lo que se refiere a los notarios que los redactan como a las partes implicadas en la escritura. Comenzaremos con un marco teórico sobre la legislación promulgada por varios monarcas portugueses y nos centraremos en un caso concreto de un documento redactado que se refiere a un negocio jurídico inválido, aunque en un acto verdadero. A partir de este ejemplo seguiremos la actividad de los intervinientes para demostrar que tenían conocimientos jurídicos suficientes sobre la falsificación de documentos y en qué medida colaboraron con los actos falsificados.

Cultural property has always been highly coveted and this has generated a highly profitable black market in antiques and works of art that is only surpassed by the illicit trade in drugs and arms. In this article we will analyse the «modus operan- di» of the criminal organisations involved in this illegal trade and the type of buyers. This criminal activity is also associated with money laundering, the finan- cing of terrorism, art forgery and the so-called artnapping., Los bienes culturales han sido siempre muy codiciados y esto ha generado un mercado negro de antigüedades y obras de arte muy rentable que solo es superado por el trá- fico ilícito de drogas y armas. En el presente artículo analizaremos el «modus ope- randi» de las organizaciones criminales dedicadas a este comercio ilegal y el tipo de compradores. Esta actividad delictiva también está asociada al blanqueo de capi- tales, la financiación del terrorismo, las falsificaciones de arte y el denominado «artnapping»

Image manipulation localization (IML), which seeks to accurately segment tampered regions that are artfully fastened into a normal image, is a fundamental yet challenging computer vision task. Despite that impressive results have been achieved by some progressive deep learning methods, they usually fail in capturing the subtle manipulation artifacts at different object scales, which are not competent to generate a perfect segmentation mask with complete and fine object structures. Besides, the problem of coarse boundaries also occurs frequently. To this end, in this paper, we propose a Transformer-Auxiliary by operator-induced neural Network (TANet) to localize forged regions for IML. Specifically, a stacked multi-scale transformer (SMT) branch is first introduced as a compensation for feature representations of the mainstream convolutional neural network branch. SMT can detect structured abnormalities of the input image at multi-levels by operating on patches of different sizes. Then TANet explicitly exploits an operator induction module (OIM) to excavate valuable and manipulated region-related boundary semantics to guide the representative learning of the mainstream branch. The OIM encourages the network to generate features that highlight object structure, thereby promoting precise boundary localization of forged regions. We conduct extensive experiments on various datasets and settings to validate the effectiveness of TANet. Results show that TANet outperforms the state-of-the-art methods by a large margin under widely-used evaluation metrics.

The 1970s “photo boom” was a critical period in the history of photography, one that irrevocably cemented the medium’s status in the art and museum worlds, its legitimacy as a subject of academic study, and its desirability as an object of both institutional and private collections. And yet, thorough investigations of this pivotal decade have rarely been attempted, and are most often couched within larger surveys of photography’s history and its acceptance as an art form. Even more conspicuously absent are dedicated studies of the photography market, which emerged in the late 1960s, developed over the course of the 1970s, and which has continued to influence the circulation, study, and exhibition of photographs in the decades since. This dissertation addresses this absence by systematically examining four key aspects of the 1970s photography market: the market’s previously overlooked relationship to the print revival of the 1950s and 1960s, and its attendant debates about “original” prints; the evolution and significance of the “vintage print” as a core marketing concept; the professionalization of photograph conservation, along with early examples of photographic forgery; and the popularization and standardization of limited edition prints and portfolios, especially as vehicles for selling, collecting, and investing in photography. This dissertation focuses on developments in the United States and England from 1969 to 1980, bookended by the opening of New York’s Witkin Gallery and the founding of the Association of International Photography Art Dealers (AIPAD). It also, however, considers historical antecedents and developments across the first half of the twentieth century, as well as the photo boom’s reverberations through the present day. This project takes as its most important source material a variety of often neglected texts from the period of the photo boom, including auction and dealer catalogues, collecting guides, and articles in both the popular and spe

It is settled in South African and English law that for the fraud exception to apply to demand guarantees or letters of credit the fraud must have been committed by the beneficiary (or his agent with the beneficiary's knowledge) and not by a third party. Even where the fraud relates to a forgery or materially fraudulent document, the fraud must have been committed by the beneficiary for the exception to apply. This is in contrast with American law, where the fraud relating to forgeries and materially fraudulent documents does not necessarily have to be committed by the beneficiary. This contribution considers the law in this regard in these three jurisdictions.

The Divisio Wambae is the name of a diocesan partition of the Iberian Peninsula purportedly carried out during the Visigothic period, but which in fact proves to be a composition from around the year 1100. With the aim of shedding some light on the role that it played within medieval interdiocesan conflicts, this paper will pay attention to the diocesan geography reflected in the text by comparing it with other more authentic ecclesiastical documents. In order to do this we will attempt to map the toponyms represented in the Divisio, well aware that it is a problematical text surviving in a number of different versions. Consequently, we do not so much pursue a definitive cartographical analysis, but rather inquire into the meaning behind the composition, with particular attention to the role of the many unidentifiable place-names, and all within the broader context of disputes over diocesan jurisdiction occuring in Northern Iberia around the year 1100., La Divisio Wambae es el nombre de un texto que recoge una hipotética división diocesana efectuada en época visigoda. Se trata de un códice polémico cuya elaboración se sitúa en torno al año 1100. Con el objetivo de poder arrojar algo de luz sobre el papel que pudo desempeñar dentro de la geografía episcopal plenomedieval y los conflictos interdiocesanos, este trabajo prestará atención a las divisiones reflejadas en el texto mediante su comparación con otros documentos eclesiásticos. Para ello trataremos de cartografiar los topónimos allí representados aceptando que se trata de un texto problemático. En consecuencia, no perseguimos tanto una plasmación cartográfica más o menos definitiva, sino la búsqueda de un sentido a la composición que ayude a entender el significado de los lugares no identificables, dentro del contexto de las disputas por la jurisdicción diocesana acaecidas en la Meseta en torno al siglo XII.

The Alzate ceramics case is a well-known episode in which a group of local experts and some European scientists were deceived by a family from the city of Medellin in the early twentieth century known as the Alzate family, who manufactured clay ceramics for commercial purposes, which ended up in some of the most important museums in the world such as the Museum of Natural History in New York, the Trocadero Museum in France, the Museum of Neuchâtel in Switzerland, among other institutions, as original pre-Columbian. This particular fact, configures a chapter without precedents as far as the valuation of the pre-Columbian cultural patrimony is concerned, the reinterpretation of this one on the part of some local craftsmen and the commercialization of the material past of the natives that gave origin to a local artistic expression based on indigenist models of the past. On the other hand, it is an episode like few others in which an object goes from being considered as an invaluable materialevidence of the American cultures of before the conquest, to being considered as forgeries of little value to be considered later as important pieces for their aesthetics and cultural load being currently guarded by several museum institutions in Colombia and the world., El caso de la cerámica Alzate es un reconocido episodio en el que un grupo de expertos locales y algunos científicos europeos fueron engañados por parte de una familia de la ciudad de Medellín a principios del siglo XX, conocida como los Alzate quienes fabricaban cerámicas de barro con fines comerciales, las cuales fueron a parar a algunos de los museos más importantes en el mundo como el Museo de Historia Natural de New York, el museo Trocadero en Francia, el Museo de Neuchâtel en Suiza, entre otras instituciones, como precolombinos originales. Este particular hecho configura un capítulo sin precedentes en cuanto a la valoración del patrimonio cultural precolombino se refiere, la reinterpretación de este por parte de unos artesanos locales y la comercialización del pasado material de los indígenas que dieron origen a una expresión artística local basada en modelos indigenistas del pasado. De otra parte, es un episodio como pocos en los que un objeto pasa de ser considerado como una evidencia material invaluable de las culturas americanas de antes de la conquista, a ser consideradas como falsificaciones de poco valor para ser consideradas posteriormente como piezas importantes por su estética y carga cultural siendo actualmente custodiadas por varias instituciones museísticas en Colombia y el mundo.

The aim of the article is to justify the formulated postulate to separate in the Polish legal system an autonomous type of offence consisting in the counterfeiting, alteration or illegal reproduction of a work of art, which would comprehensively – similarly to the protection of monuments, or maybe even more broadly – cover the most important phases of this behaviour, taking into consideration also those of a secondary nature related to marketing the forgery or its distribution. The concept of ‘work of art’ has been narrowed down to works of plastic art for the purpose of the article and in this text is understood as an independent object separated from other objects of individual and independent specificity, being man-made, possessing aesthetic value, and expressing emotional qualities (Gołaszewska, Zarys estetyki. Warsaw 1986: 277). The most important problems connected with activation of criminal law protection in the event that a perpetrator engages in conduct commonly referred to as ‘forgery of a work of art’ are presented. The research was conducted primarily using the dogmatic method, and to a lesser extent the historical and comparative method. Finally, it is established that the system of legal interests surrounding the current art market rules makes it necessary for the scope of legal protection of a work of art, including a historical monument in case of forgery, to focus equally on the rights of purchasers – as it has been the case so far – but consideration should also be given to the rights of original creators, so that they can react effectively if they are violated. As a result, having identified the need for legislative intervention with regard to the crime of altering or forging an item and the crime of sale of a forgery, a proposal is formulated to modify the existing legal solutions., Celem prowadzonych rozważań jest uzasadnienie sformułowanego postulatu wyodrębnienia w polskim systemie prawnym autonomicznego typu przestępstwa obejmującego podrobienie albo przerobienie bądź nielegalną reprodukcję dzieła sztuki, które kompleksowo – podobnie jak w wypadku ochrony zabytków, a może nawet szerzej – obejmowałoby najważniejsze fazy tego zachowania, uwzględniając również i te o ubocznym charakterze, związane z wprowadzeniem falsyfikatu do obrotu lub jego rozpowszechnieniem. Dla prowadzonych rozważań pojęcie dzieła sztuki zawężone zostało do dzieł sztuki plastycznej, a przez „dzieło sztuki” rozumie się samodzielny przedmiot oddzielony od innych przedmiotów o indywidualnej i niezależnej specyfice, stworzony przez człowieka, posiadający wartość estetyczną i wyrażający walory emocjonalne (M. Gołaszewska, Zarys estetyki. Problematyka, metody, teorie. Warszawa 1986: 277). W poszczególnych częściach artykułu przedstawiono najważniejsze problemy związane z uruchomieniem karnoprawnej ochrony w razie realizacji przez sprawcę zachowania określanego powszechnie jako „fałszerstwo dzieła sztuki”. W prowadzonych badaniach wykorzystano przede wszystkim metodę dogmatyczną oraz w węższym zakresie historyczną i komparatystyczną. Finalnie ustalono, że układ interesów prawnych wokół aktualnych reguł funkcjonowania rynku sztuki sprawia, że zakres ochrony prawnej dzieła sztuki, w tym również zabytku w razie fałszerstwa, w równej mierze powinien koncentrować się na prawach nabywców – jak dotychczas – ale także powinien uwzględniać prawa twórców oryginałów, tak aby mogli w razie ich naruszenia skutecznie reagować. W rezultacie, dostrzegając potrzebę interwencji legislacyjnej także wobec przestępstwa przerobienia albo podrobienia zabytku oraz przestępstwa zbycia falsyfikatu zabytku, wskazano na konieczność wprowadzenia do polskiego systemu prawnego autonomicznego typu przestępstwa fałszerstwa działa sztuki.

The cybersecurity breaches expose surveillance video streams to forgery attacks, under which authentic streams are falsified to hide unauthorized activities. Traditional video forensics approaches can localize forgery traces using spatial-temporal analysis on relatively long video clips, while falling short in real-time forgery detection. The recent work correlates time-series camera and wireless signals to detect looped videos but cannot realize fine-grained forgery localization. To overcome these limitations, we propose Secure-Pose, which exploits the pervasive coexistence of surveillance and Wi-Fi infrastructures to defend against video forgery attacks in a real-time and fine-grained manner. We observe that coexisting camera and Wi-Fi signals convey common human semantic information and forgery attacks on video streams will decouple such information correspondence. Particularly, retrievable human pose features are first extracted from concurrent video and Wi-Fi channel state information (CSI) streams. Then, a lightweight detection network is developed to accurately discover forgery attacks and an efficient localization algorithm is devised to seamlessly track forgery traces in video streams. We implement Secure-Pose using one Logitech camera and two Intel 5300 NICs and evaluate it in different environments. Secure-Pose achieves a high detection accuracy of 98.7% and localizes abnormal objects under playback and tampering attacks. IEEE

The cybersecurity breaches expose surveillance video streams to forgery attacks, under which authentic streams are falsified to hide unauthorized activities. Traditional video forensics approaches can localize forgery traces using spatial-temporal analysis on relatively long video clips, while falling short in real-time forgery detection. The recent work correlates time-series camera and wireless signals to detect looped videos but cannot realize fine-grained forgery localization. To overcome these limitations, we propose Secure-Pose, which exploits the pervasive coexistence of surveillance and Wi-Fi infrastructures to defend against video forgery attacks in a real-time and fine-grained manner. We observe that coexisting camera and Wi-Fi signals convey common human semantic information and forgery attacks on video streams will decouple such information correspondence. Particularly, retrievable human pose features are first extracted from concurrent video and Wi-Fi channel state information (CSI) streams. Then, a lightweight detection network is developed to accurately discover forgery attacks and an efficient localization algorithm is devised to seamlessly track forgery traces in video streams. We implement Secure-Pose using one Logitech camera and two Intel 5300 NICs and evaluate it in different environments. Secure-Pose achieves a high detection accuracy of 98.7% and localizes abnormal objects under playback and tampering attacks. IEEE

Data and signal authentication schemes are being proposed to address Global Navigation Satellite Systems' (GNSS) vulnerability to spoofing. Due to the low power of their signals, the bandwidth available for authentication in GNSS is scarce. Since delayed-disclosure protocols, e.g., TESLA (timed-efficient stream loss-tolerant authentication), are efficient in terms of bandwidth and robust to signal impairments, they have been proposed and implemented by GNSS. The length of message authentication codes (MACs) and cryptographic keys are two crucial aspects of the protocol design as they have an impact on the utilized bandwidth, and therefore on the protocol performance. We analyze both aspects in detail for GNSS-TESLA and present recommendations for efficient yet safe MAC and key lengths. We further complement this analysis by proposing possible authentication success and failure policies and quantify the reduction of the attack surface resulting from employing them. The analysis shows that in some cases it is safe to use MAC and key sizes that are smaller than those proposed in best-practice guidelines. While some of our considerations are general to delayed-disclosure lightweight protocols for data and signal authentication, we particularize them for GNSS-TESLA protocols.

The article is devoted to a forgery from Ląd dated 1150 as well as to its transumpt which was issued in 1251. The author maintains that the document dated 1150 is a forgery and that its transumpt is authentic. Furthermore, it is the author’s opinion that Prince Casimir’s name, which the forgery is signed with, was not accidental as it was connected with idea of authority in the Middle Ages, which was used to authenticate documents. Moreover, the forgery under discussion contains archaic phrasing in the so-called duties and obligations’ instruction for the citizens of the monastery villages, which are older than the ones known from the alleged founding document of the abbey. On the other hand, an analysis of the form of transumpts edited in the abbey in Ląd leads one to the conclusion that, even though the forgery dated 1150 was devoid of the majority of diplomatic phrases, it contained analogous expressions to the transumpt., Artykuł jest poświęcony falsyfikatowi lędzkiemu datowanemu na rok 1150 oraz jego transumptowi, wystawionemu w 1251 r. Podtrzymuję zdanie o sfałszowaniu dokumentu datowanego na 1150 r. oraz autentyczności jego transumptu. Uważam, że imię księcia Kazimierza, w jakie opatrzono falsyfikat, było nieprzypadkowe, a wiązało się to z pojęciem autorytetu w średniowieczu, którym uwierzytelniano dokumenty. Sądzę ponadto, że omawiany falsyfikat zawiera archaiczne sformułowania w tzw. instruktarzu powinności i obowiązków mieszkańców wsi klasztornych, starsze od znanych z rzekomego dokumentu fundacyjnego opactwa. Natomiast analiza formularza redagowanych w klasztorze w Lądzie transumptów prowadzi do wniosku, że choć pozbawiony większości formuł dyplomatycznych falsyfikat datowany na 1150 r. zawierał analogiczne formuły jak jego transumpt.

Early Modern Rome was the destination of several Eastern Christians asking for financial aid or licenses to collect alms: in many cases their identities and stories turned out to be dubious, when not blatantly false. In this article I discuss the most common types of deception experienced by Catholic authorities during the seventeenth and eighteenth centuries by evoking some episodes recorded in the Pontifical archives. However, most of my analysis is devoted to a later and somewhat exceptional case study, that of the Coptic pupil of the Urban College Abramo Chasciur, who in 1824 managed to be consecrated archbishop of Memphis by forging several letters allegedly coming from the Egyptian political and religious authorities. The detailed reconstruction of this case leads to reflect more deeply on the agency and on the effective power that a single, ‘dispersed’ individual could exercise far from home, by skillfully playing on the expectations of his hosts and on the loopholes of the information system of the Roman Curia.

In archaeology, the topic of fakes, copies, and imitations has been around since the 18th century. Recent studies have found that the phenomenon of counterfeit pottery worked in the ancient Greek world is very present in private and public collections, thus showing the extent of an issue that, in fact, pervades the history of archaeology.One of the MemO Project pillars, launched in March 2018 by the Department of Cultural Heritage of the University of Padova, stems from an awareness of this reality. The MemO Project is dedicated to enhancing the effectuation of archaeological artefacts (especially ceramics) within academic training and research.Accessing the technical, formal and iconographic universe of objects made thousands of years ago requires a wide-ranging apprenticeship: this is why the “Laboratory of Authentication of Archaeological Heritage” was created, an absolute novelty in the Italian academic panorama. Through the analysis of concrete cases, teachers and students can work systematically on each artefact using techniques that integrate humanistic diagnostics with the most advanced analytical and digital imaging techniques. The workshop experience is an essential practical activity essential to which students are introduced to the drawing up of concrete expert reports to training increasing professionals to defend the genuineness of art.In addition, all materials inspected in the Laboratory and archived due to forgeries will be included in an accessible database. This tool will contribute to the defence of cultural heritage.

During the 2010 documentary Exit Through the Gift Shop, the English artist Banksy, speaking with an altered voice, shows to the cameraman and co-star of the film Thierry Guetta boxes full of fake £10 banknotes. On the note instead of Queen Elizabeth is depicted Lady Diana. After the movie, the Di-Faced Tenner becomes an object particularly coveted by art enthusiasts or simple last hour fans of Banksy. Fake Tenners started circulating on eBay: full-fledged fake fakes. The boundary between authentic and fake in Banksy’s work becomes very blurred. The Di-Faced Tenner’s story becomes just one of many examples of how the whole of the English artist’s work moves on that border, making his fortune, but also that of others. The paper covers the entire history of the Tenner through articles, archive news and specialized forums. The false Di-Faced Tenner, which is the counterfeiting of a counterfeit, is just one of the many pieces that allow the Bristol artist to sell his originals at such high prices. Through the Tenner’s path, the research attempts to demonstrate how the concept of Fake in Banksy’s work is a fundamental aspect of his commercial success.

The following paper is devoted to the message contained within the founding document of the abbey of the Order of Cistercians in Ląd. This document has been preserved in several different versions. They vary not only in the message contained within (the alleged original and copies) but also in their contents as well as orthography. Recent research has assumed that the oldest and probably authentic document is the so-called “egzemplarz włocławski”[Włocławek copy]. It is the poorest one content-wise. However, an analysis of the spelling of proper names as well as of place names indicates that it could not have been created in this form in the 12th century. Moreover, an analysis of the transmissions of all the known contents of the founding document of the abbey in Ląd leads to similar conclusions. &nbsp, Artykuł jest poświęcony przekazowi dokumentu fundacyjnego klasztoru cystersów w Lądzie. Dokument ten zachował się w kilku wersjach, które różnią się między sobą zarówno przekazem (rzekomy oryginał, kopie), jak i treścią oraz ortografią. Ostatnie badania przyjmowały, że najstarszym i pewnie autentycznym dokumentem jest tzw. egzemplarz włocławski, najuboższy w treść. Jednak analiza pisowni nazw osobowych, a także miejscowych wskazuje, że w formie, w jakiej go znamy, nie mógł powstać w XII w. Do podobnych konstatacji wiedzie również analiza transmisji wszystkich znanych przekazów dokumetu fundacyjnego opactwa w Lądzie.

The aim of this paper is to analyse a set of documents attributed to the first kings of Pamplona and conserved in the monastery of Leire. In particular, we have examined the literary sources of rhetorical preambles and initial formulas in order to draw conclusions regarding the circumstances that led to their inclusion. The analysis of these documents, mostly manipulated and falsified, has allowed us to prove the intense religious and cultural relationship between the Benedictine monastery of Leire and Aquitanian monasteries integrated into the Cluniac network. Such exchange can be considered as a consequence derived from the political, religious and cultural openness promoted by Sancho III the Great in the first half of the 11th century, El objetivo de este trabajo es analizar una serie de documentos atribuidos a los primeros reyes de Pamplona y conservados en el monasterio de Leire. Más concretamente, se han examinado las fuentes literarias utilizadas en la elaboración de preámbulos y fórmulas iniciales de carácter especialmente ampuloso con el fin de extraer conclusiones en relación con las circunstancias que motivaron su inclusión. El análisis de esta documentación, mayormente manipulada y falsificada, nos ha permitido probar el intenso intercambio religioso y cultural que mantuvo el monasterio benedictino con cenobios aquitanos integrados en la red cluniacense. Tal intercambio puede considerarse como una consecuencia derivada del aperturismo político, religioso y cultural promovido por Sancho III el Mayor en la primera mitad del siglo XI.

At the beginning of this century was displayed the existence of an Ossuary, whose controversial inscription was closely related for some scholars with Jesus of Nazareth and his brother James. After some studies the scholar community was divided between the followers and the opposing group of the inscription ́s authenticity. This ar-ticle tries to show the positions and the objections from both groups., A principios de siglo se reveló la existencia de un osario, cuya polémica inscripción fue vinculada estrechamen-te por algunos investigadores con Jesús de Nazaret y su hermano Santiago. Tras una serie de análisis, la comu-nidad científica quedó dividida entre los partidarios y los detractores de la autenticidad de la inscripción. Este artículo intenta ofrecer las posturas y las objeciones de ambos grupos.

The Design Politics of the Passport presents an innovative study of the passport and its associated social, political and material practices as a means of uncovering the workings of 'design politics'. It traces the histories, technologies, power relations and contestations around this small but powerful artefact to establish a framework for understanding how design is always enmeshed in the political, and how politics can be understood in terms of material objects.Combining design studies with critical border studies, alongside ethnographic work among undocumented migrants, border transgressors and passport forgers, this book shows how a world made and designed as open and hospitable to some is strictly enclosed, confined and demarcated for many others - and how those affected by such injustices dissent from the immobilities imposed on them through the same capacity of design and artifice.

The individualistic culture of the Western art world places a great deal of emphasis on the power of names, whether it be artists or art experts. This creates a unique environment for forgery to occur, even flourish, as demonstrated by the career of Wolfgang Beltracchi, and by the commonality of Russian Avant-Garde fakes. In my research I investigate the phenomenon of art forgery and authentication, its effects on the professional art world and the perception of art, and the particular cultural factors, such as the emphasis on authorship and the importance of originality, that make forgery both possible and popular.

Conclusions présentées en clôture du colloque "Faux et usages de faux de la préhistoire à nos jours" (colloque inaugural de l'Institut de recherche PaTHs "Patrimoines, Transmissions, Héritages" de l'Université de Namur), Namur 21-22 février 2019.

The Privilegium maius is one of the most famous and spectacular forgeries in medieval Europe. It is a set of charters made in the 14th century upon commitment by Duke Rudolf IV, a member of the Habsburg family, to elevate the rank and the prestige of his family. These five charters, now kept at the Österreichisches Staatsarchiv in Vienna, have been subjected to a thorough interdisciplinary study in order to shed light on its controversial story. The charters are composed of pergamenaceous documents bound to wax seals with coloured textile threads. The present contribution concerns the characterisation of the inks used for writing and of the dyes used to colour to the threads: Are they compatible with the presumed age of the charters? Though showing only a part of the whole story of the charters, dyes analysis could contribute in assessing their complex history from manufacturing to nowadays. The dyes were characterised with non-invasive in situ measurements by means of fibre optic (FORS) and with micro-invasive measurements by means of Surface Enhanced Raman Spectroscopy (SERS) and High-Performance Liquid Chromatography with Mass Spectrometry (HPLC-MS) analysis. The results showed that the threads of four of the charters (three dyed with madder, one with orchil) were apparently coloured at different dyeing stages, then re-dyed in the 19–20th century.

Authenticity is an interesting and, in some ways, even a problematic term. Yet there is a very special feeling when someone observes a cultural object, knowing it is the real thing. The purpose of this thesis is to examine revealed forgeries for aspects of authenticity and discuss whether these revealed forgeries have something unique they can offer as museum objects. To form a premiss for both the analysis and the discussion of different museum objects, the thesis uses theoretical perspectives from Denis Dutton, David Lowenthal and Siân Jones regarding authenticity and cultural objects. Using the theoretical perspectives as a tool for analysis and discussion regarding the different museum objects, varying patterns of authenticity can be seen. The discussion leads to the conclusion that there are qualities revealed forgeries can offer as museum objects. They can contribute as objects of entertainment, educational purposes or as escapism, for the museum visitor. This is a two years master’s thesis in Museum and Cultural Heritage Studies.

This paper describes a quick and simple method to detect brush editing in JPEG images. The novelty of the proposed method is based on detecting the discarded coefficients during the quantization of the image. Another novelty of this paper is the development of a subjective metric named intentions. The method directly analyzes the allegedly tampered image and generates a forgery mask indicating forgery evidence for each image block. The experiments show that our method works especially well in detecting brush strokes, and it works reasonably well with added captions and image splicing. However, the method is less effective detecting copy-moved and blurred regions. This means that our method can effectively contribute to implementing a complete imagetampering detection tool. The editing operations for which our method is less effective can be complemented with methods more adequate to detect them.

There is consensus in considering organized crime as a relevant threat to the security of States, societies and individuals. South America plays a key role in the international schemes of organized crime, especially regarding the production, trafficking and commercialization of illegal drugs. The main objective is to demonstrate the relevance of organized crime in South America. For this purpose, we will divide the sub-region into three large blocks: an Andean area composed of Peru, Bolivia and Ecuador; an Atlantic-Caribbean front (Venezuela and Brazil); and the Southern Cone (Argentina, Uruguay, Paraguay and Chile). The main manifestation of organized crime in South America is drug trafficking, (ie. the cultivation, processing, trafficking and marketing of illegal drugs). However, it is not the only expression of criminality as it coexists with other illicit ones with which it is even synergistically potentiated, such as illegal mining, trafficking in persons, arms trade, murder and the falsification and contraband of the most diverse goods, Existe consenso en considerar a la criminalidad organizada como una amenaza relevante para la seguridad de los Estados, las sociedades y los individuos. América del Sur juega un papel primordial en los esquemas internacionales de la criminalidad organizada, particularmente en lo referente a la producción, tráfico y comercialización de drogas ilegales. Nuestro objetivo consiste en demostrar la relevancia de la criminalidad organizada en América del Sur, para ello dividiremos la subregión en tres grandes bloques, un área andina integrada por Perú, Bolivia y Ecuador; un frente atlántico-caribeño con Venezuela y Brasil; y el Cono Sur abarcando Argentina, Uruguay, Paraguay y Chile. La principal manifestación del crimen organizado en América del Sur es el narcotráfico, es decir, el cultivo, procesamiento, tráfico y comercialización de drogas ilegales. Sin embargo, no es la única expresión de la criminalidad y coexiste con otros ilícitos con los que incluso se potencia sinérgicamente, como la minería ilegal, la trata de personas, el tráfico de armas, el «sicariato», y la falsificación y contrabando de los bienes más diversos

A philological analysis of 2 Clem. 19:1–20:5 in comparison with the style and theology of 2 Clem. 1–18 reveals in 19:1–20:5 significant differences that most likely point to a later author. The most noteworthy divergences concern soteriology and eschatology. In particular, 2 Clem. 19–20 seems to correct a central teaching in 2 Clem. 1–18 about the necessity that believers engage in a reciprocal relationship with God and thereby expect from God remuneration and, ultimately, the consummation of their salvation. Consequently, an acceptance of 19:1–20:5 as authentic would significantly alter Second Clement’s overall message and theology. Despite those differences, there are also many similarities between 2 Clem. 19–20, on the one hand, and both First Clement and Second Clement, on the other hand. Those similarities suggest that the compositional strategy underlying 19:1–20:5 entails the imitation of both Clementine writings in order to make the secondary addition appear authentic. 2 Clem. 19–20 is therefore significant for its reception of both First and Second Clement and for its correction of some rather distinctive theological positions in 2 Clem. 1–18. As a correction of 2 Clem. 1–18, the addition of 19:1–20:5 may also have contributed to Second Clement’s preservation as an encore to First Clement., Eine sprachliche Analyse der stilistischen und theologischen Eigenheiten von 2 Clem 19,1–20,5 im Vergleich zu 2 Clem 1–18 macht einige Unterschiede deutlich, die für die letzten beiden Kapitel sehr wahrscheinlich auf einen späteren Autor verweisen. Die auffälligsten Abweichungen bestehen im Blick auf die Soteriologie und Eschatologie. Die beiden Schlusskapitel scheinen insbesondere die zentrale Lehre aus 2 Clem 1–18 zu korrigieren, nach der für die Gläubigen die Notwendigkeit besteht, sich um ein wechselseitiges Verhältnis zu Gott zu bemühen, für das sie von Gott Belohnung und schließlich die Vollendung ihrer Rettung erwarten dürfen. Betrachtet man 2 Clem 19,1–20,5 als authentisch, würde dies die Gesamtbotschaft und Theologie des Zweiten Clemensbriefes substantiell verändern. Trotz der Unterschiede bestehen allerdings auch viele Gemeinsamkeiten zwischen 2 Clem 19–20 auf der einen Seite und dem Ersten und Zweiten Clemensbrief auf der anderen Seite. Diese Überein- stimmungen legen nahe, dass die hinter 2 Clem 19,1–20,5 liegende Kompositions- absicht die Nachahmung beider Clemensbriefe einschließt, um die nachträgliche Ergänzung der beiden Schlusskapitel authentisch erscheinen zu lassen. Besonders interessant ist deswegen die Art, in der 2 Clem 19–20 den Ersten und Zweiten Cle- mensbrief rezipiert und einige charakteristische theologische Positionen aus 2 Clem 1–18 abwandelt. Als Korrektur von 2 Clem 1–18 mag die Ergänzung in 2 Clem 19,1– 20,5 auch zur Erhaltung des Zweiten Clemensbriefes als Zugabe zum Ersten Cle- mensbrief beigetragen haben., The December 2018 issue of the journal was published in February 2019.

This article probes the production of the uplands of Chittagong in the early years of British East India Company (EIC)rule in Bengal and its eastern frontiers. The South Asian debates around the nature of agrarian property relations have largely skipped places like Chittagong uplands, consequently, the uplands appear in academic and popular discussions as an already constituted outside to this agrarian historiography. The history of the uplands then become easily separated and consumed as part of frontier studies. The article seeks to address the constitution of this outside. Narrating a story where the protagonists range from influential Bengali middlemen in EIC retinue, Company officers responsible for Chittagong administration to mobile Arakanese men called ‘Magh zamindars’, brought together in a swirl of forged documents and contending claims to ‘wastelands’, the article glimpses into the complex interlocking between upland and lowland networks of Chittagong. It frames this narrative by unpacking the revenue categories of sair and kapas mahal; the two categories used for Chittagong uplands during this period. Disaggregating them allows one to see how the uplands were created in the image of the commodity cotton: the people who produced it, the way it was exchanged and the violence that marked the process.

This paper investigates the application of fault attacks to the authenticated encryption stream cipher algorithm MORUS. We propose fault attacks on MORUS with two different goals: one to breach the confidentiality component, and the other to breach the integrity component. For the fault attack on the confidentiality component of MORUS, we propose two different types of key recovery. The first type is a partial key recovery using a permanent fault model, except for one of the variants of MORUS where the full key is recovered with this model. The second type is a full key recovery using a transient fault model, at the cost of a higher number of faults compared to the permanent fault model. Finally, we describe a fault attack on the integrity component of MORUS, which performs a forgery using the bit-flipping fault model.

Art forgery is an uncommon subject in national doctrine and a subject which is less commonly written about in international doctrine. Most doctrinal and jurisprudential sources commonly refer to forgery as falsifying public or private documents and the is, La falsificación de obras de arte es un tema extraño a la doctrina nacional. En la práctica jurídica usual se estudian a fondo los temas que orbitan alrededor de la falsificación de una obra de arte, principalmente la falsedad en documentos públicos o pri

This study examines and compares the indictable offense of forgery in the legal sources of Hispanic and Anglo-Saxon territories from the 15th to the 18th centuries, including medieval legal background. An attempt is given to determine the origin and development of its distinguishing notes and the interest legally protected, as well as its subject-matter and the offenders’ responsibility. Special emphasis is given to the development in the typology of punishment in English and Hispanic territories, providing numerous examples from the Ejecutorias of the Real Audiencia y Chancillería de Valladolid and the trials held at London’s central criminal court from 1674 to 1830, RESUMEN: Este estudio examina y compara la regulación del delito de falsedad documental en las fuentes normativas y doctrinales hispánica e inglesa en los siglos XVI-XVIII, incluyendo los antecedentes medievales. Se estudia el origen y desarrollo de las notas distintivas del delito y del bien jurídico protegido, así como la configuración de su ámbito subjetivo y material. Se resaltan aquellas diferencias más visibles relativas a la calificación del delito en los ordenamientos hispánicos e ingleses, prestando especial atención a la evolución en la tipología de penas y del régimen sancionador. En el ámbito de la práctica forense, se presentan numerosos ejemplos de las Ejecutorias de la Real Audiencia y Chancillería de Valladolid y de juicios en el Tribunal Penal Central de Londres.

In 2017, the Portuguese legislator added a new crime to the Securities Code:Obtaining investments with false or misleading information (article 379-E). It is a legal solution already known in other legal systems close to our own (Germany, Italy and Spain), but it acquires between us a special configuration clearly distinct from the criminal fraud. This text aims to clarify the grounds and elements of the new crime., Em 2017, o legislador português acrescentou ao Código dos Valores Mobiliários um novo tipo incriminador: a captação de investimentos com informação falsa ou enganosa (artigo 379.º-E). Trata-se de um crime já conhecido noutros ordenamentos jurídicos próximos do nosso (Alemanha, Itália e Espanha), mas que adquire entre nós uma configuração especial que o torna claramente distinto do crime de burla. O presente texto visa clarificar os fundamentos, os pressupostos e a autonomia da nova incriminação.

La falsificación de obras de arte es un tema extraño a la doctrina nacional. En la práctica jurídica usual se estudian a fondo los temas que orbitan alrededor de la falsificación de una obra de arte, principalmente la falsedad en documentos públicos o privados (arts. 286 y ss. Código Penal) y el delito de estafa (art. 246 C.P.). Sin embargo, y tal como se demuestra a lo largo de esta investigación, el problema va más allá de la falsedad y la estafa, por el contrario y abordando el régimen de verdad propio de las obras, se aproxima a una definición conceptual de lo que se entiende por falsedad en una obra de arte, al igual que se describe la naturaleza de las obras de arte y el tratamiento que el operador jurídico les debe dar en relación con la figura de la falsedad al momento de enfrentar el reto jurídico que supone dicha situación., Art forgery is an uncommon subject in national doctrine and a subject which is less commonly written about in international doctrine. Most doctrinal and jurisprudential sources commonly refer to forgery as falsifying public or private documents and the issues that surround it. Therefore, art forgery presents a great legal challenge as it is not only premised on a physical change but also on a modification of the truth contained in the object of forgery. This article investigates themes such as: the truth within works of art, the definition of a work of art, and many other concepts that are related to these topics.

Digital media (i.e., image, audio) has played an influential role in today information system. The increasing of popularity in digital media has brought forth many technological advancements. The advancements, however, also gives birth to a number of forgeries and attacks against this type of information. With the availability of easy-to-use media manipulating tools available online, the authenticity of today digital media cannot be guaranteed. In this paper, a new general framework for enhancing today media splicing detection has been proposed. By combining results from two traditional approaches, the enhanced detection results show improvement in term of clarity in which anomalies are more explicitly shown, providing easier and faster way for a forensic practitioner to investigate and verify the authenticity of the target digital media. Regarding the experiment, the developed framework was tested against a number of realistic tampered (spliced) media. Moreover, the enhanced detection results are compared with traditional approaches to ensure the efficiency of our proposed method in the realistic situation.

20 p.

Сталне промјене у друштву, технолошки развој, глобализација и модерне инфор- мацијске технологије пружају нове, напредније и боље могућности процијене и утврђивања аутентичности умјетничких дјела. Овај развој праћен је огромним порастом тржишне вриједности слика, графика и других ликовних умјетности, а тиме и откривања кривотворених или погрешно процијењених умјетнина. Про- блем утврђивања аутентичности умјетничких дјела одувијек је задавао велике главобоље историчарима умјетности, колекционарима, аукцијским кућама, трго- вцима умјетнинама и галеристима, а недостатак законске регулативе којима се одређују потребне квалификације за звање „стручњака за умјетнине“ и питање њихове одговорности стварају проблем увођењу правно-социјално-економских принципа тржишног вредновања умјетничких дијела. Недостатак транспарент- ности, комплексност тржишта умјетнина због великог броја различитих посред- ника, учесталост набављања умјетнина под сумњивим околностима остваља отворено питање заштите купаца умјетничких дјела. Управо из ових разлога постоји интерес индустрије умјетнина за blockchain технологију, а велики број старт-уп компанија истражују примјену тренутних пословних модела базираних на блоцкцхаин технологији како би омогучили доказивање упитних атрибуција и кривотворених умјетничких дјела., Continuous changes in society, technological development, globalization and modern information technologies provide new, more advanced and better possibilities for assessing and determining the authenticity of works of art. This development is followed by a huge increase in the market value of paintings, graphics and other visual arts, and thus the detection of forged or wrongly estimated artwork. The problem of determining the authenticity of art works has always been a headache for art historians, collectors, auction houses, art dealer and gallery owners, and the lack of legislation that determine the necessary qualifications for the title of “expert of art” and question their responsibilities create a problem introducing legal and socio– cconomic principles of market valuation of artistic works. The lack of transparency and complexity of the art market because of the large number of different intermediaries, frequency acquisition of works of art under suspicious circumstances raise an issue of customer protection – buyer of art work. For these reasons there is art industry interest in art blockchain technology and large number of start-up companies are researching the application of current business models based on blockchain technology to enable demonstration of questionable attribution and forged works of art.

Forged art is corrupting the art market, a market that has grown more brazenly dishonest as the value of artwork has skyrocketed. Fake art not only harms the financial interests of investors, but it also damages the integrity of the art market, ultimately undermining the historical-cultural record. Yet art fraud is flourishing because art experts are increasingly unwilling to express authentication opinions due to the specter of expensive litigation. This paper examines the historical background of art fraud and the legal protection needed for art experts if rampant art fraud is to be deterred.

Despite the necessary flexibility of the semiotic codes, which survive the messages inscribed in them, they must also be plastic to a certain degree to readjust to some interventions.However, the enormous complexity of changes can make them terribly difficult to analyse, except when those interventions are clearly discrete and permanent for the historian, as happens with some literary codes, whose transformations can be studied as trends made of individual entities (books). The code of the novel is composed of features that go through various phases (innovation, generalization, boredom, oblivion, reinvention) whose development differs from one tradition to another., Pese a la necesaria flexibilidad del código semiótico, que trasciende a los mensajes que se inscriben en él, debe presentar también cierta plasticidad: algunas intervenciones exigen de él una readaptación. Pero la complejidad de los cambios puede dificultar su estudio, salvo cuando esas intervenciones sean claramente discretas y permanezcan para el historiador, como ocurre con algunos códigos literarios, cuyas transformaciones pueden explicarse a partir de entidades individuales (los libros). El código novelesco se compone de rasgos que pasan por diversas fases (innovación, generalización, cansancio, olvido, reinvención) cuyo desarrollo es variable para cada tradición.

While mundane for the privileged few, passports, as discussed in the first part of this paper (DPP vol. 13, no. 2), are rather strong, thick and extensive devices of articulating, partitioning and producing possibilities of access, movement and inhabitations in the world. They have emerged from a certain intersection of social and material forces and continue to produce and provide new environments of power relations. It was proposed that these articulations are better to be renamed as passporting, which recognizes the regimes of practices involved in such environments beyond the single artifact of passport. Part II takes much further this analysis through proposing four lines of reading the passporting regime: materialities; sensibilities; part-taking; and translating. These lines, which point to the ontological qualities of passporting, can also be enacted for intervening into the passporting regime which articulates to the current hegemonic order of mobility. I trace such possible interventions in the acts of forgery of passports. Forgery uses, enables, dissents and rearticulates these very four lines of the passporting regime in other directions than the ones imagined by their initial design. By discussing the practices of passport forgery in relation to the passporting regime, this article offers a material and critical understanding of the notions of citizenship and nationality.

While in Frankfurt a few weeks ago, I visited the site of the Dom/Römer project, a series of 35 buildings that are under construction in the historical center of Frankfurt am Main. While most of the buildings are going to be modern interpretations of the houses that once stood on the small parcels in Frankfurt’s city center, fifteen of the buildings will be historical reconstructions of historical buildings. As I approached the building site, I walked along a fence that had been covered with a vinyl picture of an artist’s rendition of the finished project. Scrawled across the picture was a graffito: “Bitte richtig alt. Kein Zombie!” The term “zombie” has been a battle cry for anti-reconstructionists from all over Germany as they watch historical reconstruction projects fill the empty spaces in their destroyed historical city centers. In this paper, I will investigate the current discourse that has conflated architecture with necromancy in German city planning. Are these reconstructions the signs of a crisis in Modernism, a sweeping wave of uncritical nostalgia, or dangerous returns to evil ideologies of the past? Using Walter Benjamin’s Kunstwerk essay, I will explore the role of historical reconstruction as medial architecture, buildings that function more like film than the so-called “authentic” architecture that is preferred by the current generation of Denkmalpfleger. What happens when a destroyed Bauwerk reaches the age of its technological reproducibility? These “zombie” buildings, I will argue, reveal mythical underpinnings in the projects of Modernism and the religious practices inherent in the concept of authenticity historical monuments.